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Time 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010
Giulio Gatti Casazza 1926 Director, Metropolitan Opera Arturo Toscanini Leopold Stokowski 1926 1930 Conductor Conductor Pietro Mascagni Lucrezia Bori James Cæsar Petrillo 1926 1930 1948 Composer Singer Head, American Federation of Musicians Richard Strauss Alfred Hertz Sergei Koussevitsky Helen Traubel Charles Munch 1938 1927 1930 1946 1949 Composer and conductor Conductor Conductor Singer Conductor Ignace J Paderewski Geraldine Farrar Joseph Deems Taylor Marian Anderson Cole Porter 1939 1927 1931 1946 1949 Kirsten Flagstad Pianist, politician Singer Composer, critic Singer Composer 1935 Lauritz Melchior Giulio Gatti-Casazza Ignace Jan Paderewski Yehudi Menuhin Singer Artur Rodziński Gian Carlo Menotti Maria Callas 1940 1923 1928 1932 1947 1950 1956 Artur Rubinstein Edward Johnson Singer Director, Metropolitan Opera Pianist, politician Violinist; 16 years old Conductor Composer Singer 1966 1936 Leopold Stokowski Pianist Johann Sebastian Bach Nellie Melba Mary Garden Lawrence Tibbett Singer Arturo Toscanini Mario Lanza & Enrico Caruso Leonard Bernstein 1940 1968 1927 1930 1933 1948 1951 1957 Jean Sibelius Conductor Dmitri Shostakovich Composer (1685–1750) Singer Singer Singer Conductor Singers Composer, conductor 1937 1942 Beverly Sills Richard Strauss Rosa Ponselle Arturo Toscanini Composer Composer Benjamin Britten Patrice Munsel Renata Tebaldi Rudolf Bing Luciano Pavarotti 1971 1927 1931 1934 1948 1951 1958 1966 1979 Sergei Koussevitsky Sir Thomas Beecham Leontyne Price Singer Georg Solti Composer, conductor Singer Conductor Composer -
Enrico Caruso (1873-1921)
ENRICO CARUSO (1873-1921) Birth Name: Enrico Caruso Place of Birth: Naples, Italy Career Highlights: Enrico Caruso was widely considered the greatest international opera star of his day. He was not American – Caruso was born and died in Naples, Italy – but he spent many years living in New York as a leading star at the Metropolitan Opera, and was the United States’ first recording superstar, issuing almost 300 recordings with the Victor Talking Machine Company (later RCA). While much of his recording focused on operatic works, Caruso recorded many popular songs, including the Neapolitan (southern Italian) song “O Sole Mio,” in the language of his native Naples. (In 1960, Elvis Presley had a No. 1 hit with the song “It’s Now or Never,” sung to same tune as “O Sole Mio.”) In 1918, Caruso recorded the patriotic American World War I song “Over There.” Recording: “O Sole Mio” (traditional Italian song), 1916 Recording: “Over There” (patriotic World War I song), 1918 Questions to consider: What cities are the newspapers below from? What does the size and placement of the articles about Caruso’s death suggest about his popularity in the United States? What are some of the terms used to describe Caruso in the headlines to these articles? Why might American audiences have been interested in listening to recordings of popular Italian songs? What does Caruso’s recording of a song like “Over There” suggest about his attitude toward the United States? About Americans’ attitudes toward him? Why might it have been easier for an Italian to find success as an opera star in the United States during this period than in another field? How might Caruso’s success have helped paved the way for singers of Italian descent who came after him?. -
SAMPLE SYLLABUS Spring 2021–History of Immigration HIST-UA 9186 F01
SAMPLE SYLLABUS Spring 2021–History of Immigration HIST-UA 9186 F01 Class Description: This four credit course explores how the dynamics of migration have shaped identity and citizenship. By providing students with a range of theoretical approaches, the course will address questions of migration, national identity and belonging from a multidisciplinary perspective drawing from (amongst other fields): Sociology, History, Geo-Politics, Gender Studies, Black European Studies, and Cultural Studies. Taking the so called “refugee crisis” as a starting point, the course will pay particular attention to the figure and representation of the “migrant” going from Italian mass migration in the late 19th century to the migrants crossing every day the waters of the Mediterranean in order to reach Fortress Europe. Yet, a course on migration processes undertaken in Italy cannot limit itself to a purely theoretical framework. Migration means movements of people bringing along personal histories, families and cultural backgrounds. Furthermore the presence of migrants, refugees and asylum seekers reaching Europe is having a significant impact on the current social and political agenda of European government, as in the case of Italy. Therefore the course will include a series of fieldtrips aimed at showing students how immigrants, refugees and asylum seekers insert themselves into the labor market and society in Italy. Inclusion, Diversity, Belonging and Equity NYU is committed to building a culture that respects and embraces diversity, inclusion, and equity, -
Italian-American Theatre
Saggi Italian-American Theatre Emelise Aleandri Artistic Director of «Frizzi & Lazzi», New York An Italian-American actor hesitates before the entrance to a shop in Little Italy at the turn of the century. It is a day in the life of a skilful, practiced ticket-vendor of the Italian-American theatre. To disguise the distress he feels at performing the onerous task that awaits him inside the shop, he assumes the mask of confidence, tinged slightly with arrogance. Summoning up a glib tongue, the actor enters the shop and before the shopkeeper knows what has happened, the actor fires away at him this familiar reprise: «Buongiorno. Come sta? La famiglia sta bene? Lei è un mecenate, lei è un benefattore del- la colonia. Io non so cosa faccia il governo italiano, dorme? Ma quando lo faremo cavaliere? Vuole un biglietto per una recita che si darà il mese en- trante: “La cieca di Sorrento?” Spettacoloso drama [sic]»1. With an unsuspecting shop owner, this spiel would almost always be suc- cessful in selling a ticket, but this one has been through this game before and when he learns that the performance is scheduled for a Thursday evening, he is quick to respond: «Oh! Guarda un po’, proprio giovedì che aspetto visite. Vi pare, con tutto il cuore!»2. But the actor is even quicker and has purpose- fully misinformed the storekeeper: «Mi sono sbagliato, è di venerdì»3. The shopkeeper, stunned, mumbles: «Oh! Venerdì... vedrò»4. Tricked, and now the reluctant buyer of a ticket, the shop owner spits back «Come siete seccanti voi altri teatristi!»5. -
The Role of Literature in the Films of Luchino Visconti
From Page to Screen: the Role of Literature in the Films of Luchino Visconti Lucia Di Rosa A thesis submitted in confomity with the requirements for the degree of Doctor of Philosophy (Ph. D.) Graduate Department of ltalian Studies University of Toronto @ Copyright by Lucia Di Rosa 2001 National Library Biblioth ue nationale du Cana2 a AcquisitTons and Acquisitions ef Bibliographie Services services bibliographiques 395 WeOingtOn Street 305, rue Wellington Ottawa ON K1A ON4 Otiawa ON K1AW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence ailowing the exclusive ~~mnettantà la Natiofliil Library of Canarla to Bibliothèque nation& du Canada de reprcduce, loan, disûi'bute or seil reproduire, prêter, dishibuer ou copies of this thesis in rnicroform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format é1ectronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation, From Page to Screen: the Role of Literatuce in the Films af Luchino Vionti By Lucia Di Rosa Ph.D., 2001 Department of Mian Studies University of Toronto Abstract This dissertation focuses on the role that literature plays in the cinema of Luchino Visconti. The Milanese director baseci nine of his fourteen feature films on literary works. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
Geographies of Production and the Contexts of Politics: Dis-Location and New Ecologies of Fear in the Veneto Citta© Diffusa
Environment and Planning D: Society and Space 2006, volume 24, pages 41 ^ 67 DOI:10.1068/d346t Geographies of production and the contexts of politics: dis-location and new ecologies of fear in the Veneto citta© diffusa Luiza Bialasiewicz Department of Geography, University of Durham, South Road, Durham DH1 3LE, England; e-mail: [email protected] Received 3 October 2003; in revised form 27 July 2004 Abstract. Scholars of regionalist mobilisation have focused their attentions largely on the ideal and idealised landscapes that are an integral part of regional mythmaking, noting the ways in which such `representative landscapes' are deployed by regional ideologues to convey belonging and emplace identity. I argue that to understand regionalist mobilisation it is equally important to consider the lived, everyday spaces of the region, spaces within which such regionalist politics are born. In this paper, I focus on the Veneto region in the Italian North East: one of the wealthiest productive areas in Europe but also the site of some of the most reactionary regionalist and localist rhetorics. I explore the links between the transformations in the Veneto's production landscapes over the past decades and the emergence of new political discourses, arguing that it is only through an understanding of the new geographies of production and consumption that structure the Veneto spaceöa space that is increasingly deterritor- ialised and decentred, suspended between its rural past and an unaccomplished urbanisationöthat we can begin to understand fully the region's increasingly exclusionary identity politics, and the ways in which the globalised Veneto citta© diffusa that has made its fortunes on the global market and on global migrants is increasingly reacting against both and finding refuge in hyperlocalised myths of belonging. -
Alan Lomax: Selected Writings 1934-1997
ALAN LOMAX ALAN LOMAX SELECTED WRITINGS 1934–1997 Edited by Ronald D.Cohen With Introductory Essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew L.Kaye ROUTLEDGE NEW YORK • LONDON Published in 2003 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE www.routledge.co.uk Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” All writings and photographs by Alan Lomax are copyright © 2003 by Alan Lomax estate. The material on “Sources and Permissions” on pp. 350–51 constitutes a continuation of this copyright page. All of the writings by Alan Lomax in this book are reprinted as they originally appeared, without emendation, except for small changes to regularize spelling. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Lomax, Alan, 1915–2002 [Selections] Alan Lomax : selected writings, 1934–1997 /edited by Ronald D.Cohen; with introductory essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew Kaye. -
Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A
Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date. -
Abstracts Euromac2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014
Edited by Pieter Bergé, Klaas Coulembier Kristof Boucquet, Jan Christiaens 2014 Euro Leuven MAC Eighth European Music Analysis Conference 17-20 September 2014 Abstracts EuroMAC2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014 www.euromac2014.eu EuroMAC2014 Abstracts Edited by Pieter Bergé, Klaas Coulembier, Kristof Boucquet, Jan Christiaens Graphic Design & Layout: Klaas Coulembier Photo front cover: © KU Leuven - Rob Stevens ISBN 978-90-822-61501-6 A Stefanie Acevedo Session 2A A Yale University [email protected] Stefanie Acevedo is PhD student in music theory at Yale University. She received a BM in music composition from the University of Florida, an MM in music theory from Bowling Green State University, and an MA in psychology from the University at Buffalo. Her music theory thesis focused on atonal segmentation. At Buffalo, she worked in the Auditory Perception and Action Lab under Peter Pfordresher, and completed a thesis investigating metrical and motivic interaction in the perception of tonal patterns. Her research interests include musical segmentation and categorization, form, schema theory, and pedagogical applications of cognitive models. A Romantic Turn of Phrase: Listening Beyond 18th-Century Schemata (with Andrew Aziz) The analytical application of schemata to 18th-century music has been widely codified (Meyer, Gjerdingen, Byros), and it has recently been argued by Byros (2009) that a schema-based listening approach is actually a top-down one, as the listener is armed with a script-based toolbox of listening strategies prior to experiencing a composition (gained through previous style exposure). This is in contrast to a plan-based strategy, a bottom-up approach which assumes no a priori schemata toolbox. -
NI 7927-8 Book
NI 7927/8 NI 7927/8 Regiment of Sambre et Meuse should have been delayed until two months after the war had ended I do not know, but there is no gainsaying thepanache with which he trumpets forth his tribute to those intrepid military men. A comparison of these later recordings of Caruso’s with those made back in 1902 and 1903 PALESTRINA makes it evident how his voice had darkened and grown more massive over the years. The M I S S A O S A C R U M C O N V I V I U M advances in the recording process naturally emphasise this change, but in any case such was Caruso’s technical mastery that even when his voice was at its heaviest it never became unwieldy. His very last stage appearance was in a role which had been a favourite from his earliest days, Nemorino in L’elisir d’amore, which calls for great vocal dexterity; and anyone who doubts Caruso’s ability to sing rapidcoloratura in his latter days should listen to the cadenza at the end of his recording ofMia Piccirella from the operaSalvator Rosa, made in September 1919. I would like to end these reflections, though, with a glance at one more track from the current selection. This is the duet entitledCrucifix, written by the eminent French baritone Jean-Baptiste Faure, in which Caruso is partnered by Marcel Journet, one of the most celebrated basses of the day. Journet’s is the first voice that we hear, and very fine it is too; but when Caruso enters the sound is one of incomparable beauty, rich and majestic but astonishingly gentle too. -
RCA Victor LCT 1 10 Inch “Collector's Series”
RCA Discography Part 28 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LCT 1 10 Inch “Collector’s Series” The LCT series was releases in the Long Play format of material that was previously released only on 78 RPM records. The series was billed as the Collector’s Treasury Series. LCT 1 – Composers’ Favorite Intepretations - Vienna Philharmonic Orchestra [195?] Rosca: Recondita Amonia – Enrico Caruso/Madama Butterfly, Entrance of Butterfly – G. Farrar/Louise: Depuis Le Jour – M. Garden/Louise: Depuis Longtemps j’Habitais – E Johnson/Tosca: Vissi D’Arte – M. Jeritza/Der Rosenkavailier Da Geht ER Hin and Ich Werd Jetzt in Die Kirchen Geh’n – L Lehmann/Otello: Morte d’Otello – F. Tamagno LCT 2 – Caruso Sings Light Music – Enrico Caruso and Mischa Elman [195?] O Sole Mio/The Lost Chord/For You Alone/Ave Maria (Largo From "Xerxes")/Because/Élégie/Sei Morta Nella Vita Mia LCT 3 – Boris Goudnoff (Moussorgsky) – Feodor Chalipin, Albert Coates and Orchestra [1950] Coronation Scene/Ah, I Am Suffocating (Clock Scene)/I Have Attained The Highest Power/Prayer Of Boris/Death Of Boris LCT 4 LCT 5- Hamlet (Shakespeare) – Laurence Olivier with Philharmonia Orchestra [1950] O That This Too, Too Solid Flesh/Funeral March/To Be Or Not To Be/How Long Hast Thou Been Gravemaker/Speak The Speech/The Play Scene LCT 6 – Concerto for Violin and Orchestra No. 2 in G Minor Op. 63 (Prokofieff) – Jascha Heifetz and Serge Koussevitzky and the Boston Symphony Orchestra [1950] LCT 7 – Haydn Symphony in G Major – Arturo Toscanini and the NBC Symphony Orchestra [195?] LCT 8 LCT 9 LCT 10 –Rosa Ponselle in Opera and Song – Rosa Ponselle [195?] La Vestale: Tu Che Invoco; O Nume Tutelar, By Spontini/Otello: Salce! Salce! (Willow Song); Ave Maria, By Verdi/Ave Maria, By Schubert/Home, Sweet Home, By Bishop LCT 11 – Sir Harry Lauder Favorites – Harry Lauder [195?] Romin' In The Gloamin'/Soosie Maclean/A Wee Deoch An' Doris/Breakfast In Bed On Sunday Morning/When I Met Mackay/Scotch Memories LCT 12 – Concerto for Piano and Orchestra No.